Maria Kranidis
ENGL 864
Dr. Williamson
Response to Corinne
Madame de Stael creates in Corinne a woman whose passions and enthusiasm about poetry is derived from the history and climate of the land of Italy. Corinne’s connection to the place fulfills her heart with a spiritual ability to reduce worry in people and to eliminate the cloudy melancholy which consumes Oswald. In this landscape of plentitude and resource of creative force, Corinne evaluates her own life and role as a poet in connection to the history of Italy and the mannerisms of the people, not in hope of becoming other than what she already is.
There is however a sense of lack of specific needs in order for Corinne to blossom as a poet. In all her desires and explanations of her land and her heart to Oswald she does not include domestic or maternal or wifely duties in her list of pleasures. This omission leads the reader to believe that de Stael is purposely creating a character who can only be creative if her heart and body and mind are not compromised in any way. Love for Corinne is presented only in “in a man she was afraid of losing” (Corinne 148). More emphasis is placed on the definition of happiness rather than love. The Socratic definition of happiness is that it is practice/ action which could be mastered. Corinne’s house we are told has “an unusual understanding of happiness, in the highest form meaning of the word, that is to say, placing it in everything that ennobles the soul, stimulates thought and animates talent” (149).
Oswald believes “in austerity in principles happiness and actions” because he tells her “it adds duration to feeling” (180). This difference in the perception of happiness as principles providing duration become foreshadows to Corinne’s destiny. She lives in the connection to the moment, to him, to Italy, rules of happiness are for her the making of art in a spiritual connection as opposed to “dogmas that offend reason and cool feelings” (180). She then applies this philosophy of his to what she imagines love would be for him and says that “What then is love, if it foresees, if it calculates the moment it will no longer exist?” (183). When Count d’ Erfeuil gives advice to Oswald about Corinne he tells him that “in our country, where men have an active career, women must be in the shade and it would be a pity to put Corinne there” (131). A plentitude of domestic bliss does not include Corinne’s passions and so she never mentions marriage to him. Domesticity is not present in her plentitude of pleasures.
ENGL 864
Dr. Williamson
Response to Corinne
Madame de Stael creates in Corinne a woman whose passions and enthusiasm about poetry is derived from the history and climate of the land of Italy. Corinne’s connection to the place fulfills her heart with a spiritual ability to reduce worry in people and to eliminate the cloudy melancholy which consumes Oswald. In this landscape of plentitude and resource of creative force, Corinne evaluates her own life and role as a poet in connection to the history of Italy and the mannerisms of the people, not in hope of becoming other than what she already is.
There is however a sense of lack of specific needs in order for Corinne to blossom as a poet. In all her desires and explanations of her land and her heart to Oswald she does not include domestic or maternal or wifely duties in her list of pleasures. This omission leads the reader to believe that de Stael is purposely creating a character who can only be creative if her heart and body and mind are not compromised in any way. Love for Corinne is presented only in “in a man she was afraid of losing” (Corinne 148). More emphasis is placed on the definition of happiness rather than love. The Socratic definition of happiness is that it is practice/ action which could be mastered. Corinne’s house we are told has “an unusual understanding of happiness, in the highest form meaning of the word, that is to say, placing it in everything that ennobles the soul, stimulates thought and animates talent” (149).
Oswald believes “in austerity in principles happiness and actions” because he tells her “it adds duration to feeling” (180). This difference in the perception of happiness as principles providing duration become foreshadows to Corinne’s destiny. She lives in the connection to the moment, to him, to Italy, rules of happiness are for her the making of art in a spiritual connection as opposed to “dogmas that offend reason and cool feelings” (180). She then applies this philosophy of his to what she imagines love would be for him and says that “What then is love, if it foresees, if it calculates the moment it will no longer exist?” (183). When Count d’ Erfeuil gives advice to Oswald about Corinne he tells him that “in our country, where men have an active career, women must be in the shade and it would be a pity to put Corinne there” (131). A plentitude of domestic bliss does not include Corinne’s passions and so she never mentions marriage to him. Domesticity is not present in her plentitude of pleasures.